We’re here to help! Los Angeles Performance Practice is partnering with organizations and leaders in Los Angeles to offer free advice to local artists working in contemporary performance, in the form of one hour-long advisory sessions, hosted by Ace Hotel Downtown Los Angeles.
Thursday, May 11, 12p-6p
To reserve an advisory slot, RSVP HERE.
Miranda launched Los Angeles Performance Practice in 2010, and the LAX Festival in 2013. Miranda comes from a theater background, and works as an independent producer and performance curator. She began her career with several internationally collaborative projects, producing work in Havana, Kampala, Kigali, and Prague. She has worked with Center Theatre Group, Center for the Art of Performance (CAP) UCLA, and CalArts Center for New Performance, among other, on special projects and initiatives. Miranda is currently the Curatorial Artist in Residence at CAP UCLA. In 2015, she was awarded a Cultural Exchange International Fellowship through the City of Los Angeles and the British Council to work with ArtsAdmin in London. And, she is the 2014 recipient of the Richard E. Sherwood Award, awarded annually by Center Theatre Group to an innovative and adventurous Los Angeles theater artist of promise.
George has been working in the field of contemporary dance and performance for more than 25 years. He was on the founding team that launched the Roy and Edna Disney/CalArts Theater and served as Associate Director of REDCAT for a decade. Through REDCAT’s annual New Original Works Festival and ongoing Studio series, he presented more than 250 new works and works-in-progress by Los Angeles artists. He was an Associate Producer for two editions of RADAR L.A. and served as Hub Site Representative for the National Dance Project (2012–14), Lead Program Consultant in the Performing Arts for the Creative Capital Foundation (2011–2012), and on the U.S. curatorial team for the National Performance Network’s Performing Arts Asia Project (2011) and Performing Americas Project (2009–10).
The LAX showing of Moonchops is one iteration of several artist Brian Getnick will develop throughout the following year. We are thrilled to be working with Brian Getnick at Automata this year, and can’t wait to see how this singular piece of (fully committed) performance evolves and transforms over time. What an incredible opportunity.
Brian sent us a video trailer, and some useful context about this latest performance.
This trailer is a montage of rehearsals in three characters. In MOONCHOPS a “character” is a container for different embodiments. One could say that each is separately “acted” but “acting” seems to me to be only one facet of a range of performative modalities that are encompassed by “embodiment”, and specific to this piece, “embodied fantasy” which treats the theater as an animistic sort of object seen in the round.
The Magic Faggot, or the teen from 93 -delicate and loose, his performances are interior, private, conducted in the prop room that the set for MOONCHOPS is based on.
The Prince of Purrs– a dancing antagonist. Bestial and pompous.
The Old Magician is a living anachronism. His is a performativity that is tragically out of vogue: mimesis, clown, vaudeville are his ways.
From a prop room below a high school theater a young magician practices the arts of transformation: magic, dance, story telling. He imagines this private theater as animistic: every ornament and instrument an actor. As his work progresses, the characters he invents forget him, they shift the lights, the sounds, all the instruments of theatrical illusion into their own paradigm of the so-called-theater.
Grand Lady Dance House/Jennie Liu and Andrew Gilbert will be in residence at The Mistake Room Gallery in Los Angeles April 9-30, 2016 with HOUSE MUSIC, a new project in development that was last seen as a work-in-progress at the 2015 LAX Festival.
The Mistake Room will launch a new initiative committed to supporting performance and body-based practices through research, residencies, and exhibitions. Conceived by Samara Kaplan, The Mistake Room’s Curator of Performance, Film, and Discursive Programs, this new focus within the organization’s broader curatorial program aims to explore performance as an intricate composite of processes and interactions rather than solely as a time-based object.
To launch this new initiative, performers Jennie Liu and Andrew Gilbert will transform The Mistake Room’s main gallery into an artist studio, ceremony space, and performance venue. Over the duration of three weeks, during regular operating hours, Liu and Gilbert will periodically use the space to rehearse, ritualize and share their daily performance practice. Ethically and structurally informed by their ongoing study of the highly disciplined Urasenke tradition of Japanese tea ceremony, the artists’ practice is rooted in modes of shared learning of music pieces and choreographies both by peers and artists throughout history.
Within the space visitors will encounter a large-scale house-like structure custom built by designer Shannon Scrofano, informed by attributes of traditional Japanese tea houses. For the final two weeks of the project, Liu and Gilbert will invite up to sixteen guests inside this structure to witness and participate in an original ceremony. Part electronic dance music recital, part travelogue of a creative journey, part biography of an artist relationship, guests will be absorbed into an elaborately coded system of interactions, designed to explore the idea that only within constraints lies the truest freedom.
This project takes the residency model as a point of departure, approaching performance as a long-term multifaceted practice. In dismantling the hierarchy of performance-as-product, this project proposes a new way to exhibit research as art, facilitating an exchange of ideas around process. In a climate that encourages us to produce more things more quickly than ever, HOUSE MUSIC: A Residency forces us to slow down and consider the many aspects of long-term practices, rituals, and relationships that make them truly meaningful.
HOUSE MUSIC: A Residency is organized by The Mistake Room and curated by Samara Kaplan, TMR Curator of Performance, Film, and Discursive Programs.
Thurs. April 21: 5:30pm, 6:30pm, 7:30pm | Fri. April 22: 5:30pm, 6:30pm, 7:30pm | Sat. April 23: 12:00pm, 1:00pm, 2:00pm
Thurs. April 28: 5:30pm, 6:30pm, 7:30pm | Fri. April 29: 5:30pm, 6:30pm, 7:30pm | Sat. April 30: 12:00pm, 1:00pm, 2:00pm
CLOSING RECEPTION: Sat. April 30, 2016, 3-6pm
To attend a performance, please RSVP to: firstname.lastname@example.org.
Please note that in addition to performances, The Mistake Room will be open during regular hours, Wed. – Sat., 11am-6pm.
Lars Jan and Early Morning Opera will open The Institute of Memory (TIMe) in New York City tonight as part of the Public Theater’s Under the Radar Festival. Managed by Los Angeles Performance Practice, TIMe premiered at REDCAT in Los Angeles in May, followed by a presentation in Portland as part of the TBA Festival.
Two men play with the past in the glow of a kinetic light sculpture signaling keystrokes from a hacked 50s typewriter. Featuring archival wire-tap transcriptions, the missives of communist spies, and MRI brain scans, The Institute of Memory (TIMe) conjures a portrait of director Lars Jan’s enigmatic father — a Cold War operative whose fascinating story prompts questions about privacy, memory, and fatherhood.
Directed by Lars Jan, Early Morning Opera is a performance and art lab integrating emerging technologies, live audiences, and unclassifiable experience. EMO has presented its original works at the Whitney Museum, BAM Next Wave Festival, Sundance Film Festival, and more.
Over the last 12 years, The Public’s Under the Radar Festival has presented over 194 companies from 40 countries. It has grown into a landmark of the New York City theater season and is a vital part of The Public’s mission, providing a high-visibility platform to support artists from diverse backgrounds who are redefining the act of making theater. Widely recognized as a premier launching pad for new and cutting-edge performance from the U.S. and abroad, UTR artists provide a snapshot of contemporary theater: richly distinct in terms of perspectives, aesthetics, and social practice, and pointing to the future of the art form.
We are thrilled to be working with this incredible festival, as part of our ongoing work with Lars Jan and EMO.
The Institute of Memory (TIMe) runs tonight through January 17. Tickets available HERE.